_ LANDSCAPE GRAPHICS Plan, Section, and Perspective Drawing of Landscape Spaces Revised Edition Grant Ww. eid FASLA Ao i ‘ RING @ 051-62Spocial thanks to: EDAW, Inc., Fort Coll pages 6, 25, 45, 58, 10: Colorado, for profession: 156, 167, 168, 169, 180, \ston Associates, Inc., Boulder, Colorado, for professional ilustra- son page 11. Colorado State University students Jordan Mestas, Jeromy Montano, ince with illustrations. ‘and Matt Wittman for t ISBN-13: 978-0-8280-7933-7. ISBN; 0-8230-7333.5 ing photocopying, recordin: retrieval systems—without Printed in the U.S.A. First printing, 2002 7.8910/ 100908 07 Biography .orn in New Zealand where he completed a Bachelors jence at the University of Canterbury it 13 of Landscape Architecture from the Us in 1968. For seven years he worked wi architects in the San Francisco Bay Area and in New Zealand a 1d to the USA to take up hi re and Landscape Arct State University, where he is a tenured ‘operated his own landscape architectu id Designs, épecializing in garden design icensing exam for landscape architects and state of Kanses with the book Fram Concept to Form.Contents How to Use this Book Chapter Graphic Language and the Design Process’ Chapter 2: Basic Drafting Chapter 3: Lettering Chapter 4: Freehand Drawing and Conceptual Diagramming Chapter 5: resentation Plans / Chapter 6: \ ection-elevations Chapter 7: jraphic Symbol File for Sections and Perspectives Chapter 8: erspective Drawing Appendice: : Bibliograp! yy Index 17 33 45 155 204 207 208Foreword Landscape Graphics is an instructional book, The: emphasis is on easy, timeseving techniques. The format is how to. Although directed primarily to ‘the person just taking Up landscape design, it also contains techniques and jenca material thet will be of value to established professionals who to refine their graphic skills, ‘The language of landscape graphic communication is too extensive to cover in one book. For that reason, the focus here Is exclusively on black-and- ‘white techniques. in addit 1d techniques are featured instead of cones. For exemple, t more technical and perhaps more ive drawing than those shown here. But the ‘ones demonstrated in this book jhave the advantage of simplicity and ‘comprehensioiity. | ‘Tre very important area of computer graphics is touched very lightly here. here. Yet computer graphics Is far too specialized a subject a basic book tke this one, i fast. Graphic instr 8 learning process. The ‘est is confidence ar skills will have @ positive effect of your abil ideas and on your success at sel those ides: challenge; practice @ lot and have fun doing it up to you. Accept the © tantcoae craic | ‘ How to Use This Book Ifyou are a beginning student or a graphics instructor, you will get the most ‘out of this book if you study each chepter, then try the exercises at the end of the chapter. You might choose which exercises are most relevant to your {goais and existing skil level rather than doing every exercise, The sequence ‘of chapters has'a logical progression to give you the necessary skils to pro- coed to the next chapter. Similarly the exercises at the end of each chapter progress from basic 10 more challenging be more rewarding if you roughly follow these progressions. The professional or more advanced stu- ‘dent may wish to skip some sections that are too easy or of litle interest, in ‘order to speed up your leeining-and enjoyment, citer re hig cme ok ie lowed by the appfopriate Metric numbérs and units in parenthesis. hed Keep in mind trated can be ice quick color appi excellent co 10st ofthe blackand:white techniques discussed and ilus= lar rendering techniques. The reader should prec- idhs concurrently with esch section studied. Some ted in the bibliography. Also in the bibl- ions on freehand sketching, Thesecuapter 1) Graphic Language and.the Design Process Designers generally Idea to a finish of steps vary oor involved. low @ logical process to get from the germ ofan Inventory and analysis id landscape. The exact number and sequence srably depending on the project type and the people ‘book we will consider the process 2s four broad phases. Content and purpose At this stage the landscape desion pr 3 gathers and records informa: tion on the physical characteristics of a site, such as Program development building dimensions, vegetation, topogrenhy, soi Irventory and analy ‘nd other pertinent factors. The objective recording of site data is called an Design development inventory of sublective evalue- Construction document togathor with the written the succeeding design steps. program, are the basic gui tn practice, the design process is often @ litle disorderly, Depending on Graphic character and media Sometimes the| inventory. and analysis are separate graphic sheets; sometimes they|aré combined. In all cases they are accurate, clear, and comprehensive Fan view drawings that explain existing sito conditions, con- straints and potettial i ‘or blend into each other. Keeping t! various stages in the design process and deal i products are generated fo record, extemalize and communicate ideas | and information. They rough sketches to com- ~. plex construction details, or raph paper ar{d are usually hedily annotated, Felt tip pen on marker paper For smal sites, the inventory and analysis may be done with pencil on vellum is also 7 . Tepe measures, topographic surveying equipment and a __ catriera arb essettal tools for recording site cheracterstcs. Larger sites may require, a|seties|of maps. drawn with manual or computéraided drafting ‘methods. \Video-! computer- and setelitermaging technigues may also be necessen Si site analyses are best done with computer ‘manipulation of the various layars of data, idscape projects, grephic'materals re geeraliy forthe tran in notes, arrows, and rough abstract jects the data may be presented as dotaited e Programs are ofton comprised of notes, completed qiestionnaire, budgets and other logically organizeInventories Wiese Wes Pons Refneraton Blue River/Gore Pass Pre Transmission Line - [Boerne 8S — © ssnescase carnesDesign development Concept Plan ‘Tae largest proportion of the grants in this Bock deals with products and cable to this pase of design Its helpful to broak. the design Pincuntes P* development phase two main steps: conceptual design and preliminary design. Although et times they iay flow together seamlessly, ce2ch step has ts ovin purpose anc» ferent graphic expression, eo} PP e- : center ‘collector Conceptual design 'P' ‘sigh “ Content and purpose confit Zone. aed i neat fos shops. 4 Here is whore the earliest spatial design ideas begin to develop. The graphic id more complex landscape flashy since they could be : icelle idea-development, canfictresol drawings they are. Too much polish 4t this stage can stifle the goal of enco aging change. These are : drawings, diagramming in Chepter Four. i effective media, Hi ‘markers on marke the drawings should remain tentetivelyet vigorous and powerful soas to inv’ change. | For lower budget pro © tavascape seoniesConcept Plan Schematic PlanPreliminary design Content and purpose ‘As tha ideas from the previous design stage are color and user potent. There comes a time when the ideas have to be } presented to the client. At this stage the designer has the responsi to : | clearly communicate and sell the ideas as well as to ot feedback or 1 from the client for later design refinement. Typical tiles for drawings stage are presentation plan, illustrative section, perspective, preliminary plan, master plan proposed development plan. Chapters 8,6, 7, nd 8 provide more il on these types of graphics. Graphic character and medi: 1ed drawings for presentation to a client or user audience need to be realistic and convincing. Most effedtive is a colorful package of drawings tives can be effective at this stage. Jurable surface medium, such as board-mounted artwork: To often necessary to combine ‘otography and computeraided Presentation drawings recy marker paper, heavy print produce powerful pres freehand techniques, mechanical dra ‘graphics.Master Plan MASTER PLAN NORTH BOULDER COMMUNITY PARIKConstruction documentation Content and purpose ‘At some point in the design of @ buildable project the ideas have to be ‘plan, grading plan, layout plsn, iigation plan, planting plan and detail sheets, Graphic character and media These are technical drawings that must be interpret. Computer-eided drafting or mechar ‘essary for this kind of accuracy and clarity o ‘copies are usuelly needad, computer-generat transtucent bond paper, and menually-drafte: sil, - , comiplete and easy 10 rafting techniques are nec- ymmnunication: Since multiple rawings are plotted out onto ings ere done on vellum or ) tandscave GraphicsnL —— tours, spot elevations, diainage and other earth moving requirements. ees Tart INEZ PARK, E fg be Graphic Language and the Destn Process (ia He mn a “eg ne cs IE uo tl 5 oo me ie ma ys an Be ne a i He i tT Hh me ie bt ue ah ae aah a Liningcape: Pan EDVARD RESIDENCE 201g UBIsed ay) pue ebenbUr] aiyaesg @«of the built ictions on type (Eyes oars wa pemirire emaroaen FE | me eRe eae ple | LAA =| of PaynNad pc ~ freehand graphics. fant a cnaoten@) Basic Drafting ision drawings, whether later design phase of construction documenta- duced at this point so that the reader can However, drat the techniques.to other stages of the desi mw of manual: drafting tools-end techniques will help in the on of lettering, gectidns, perspectives and” other ‘graphic er in the book. prey ‘communications discussed Most precision drawing is now done on computers wi aided drafting and design (GADD) programs: Although maniual d ‘are becoming lass necessary, they stil have Some many phases of landscape design. In sinallér companies where there is @ predominance of unique, non-epetitive, intensive design, manual drafting inue tobe 1 pert of graphic communication 19 computer drawings with manuel drawing speed and accuracy of the computer yet also retain the loose expressive style of drafted manually or on the computer, are: * | Basic DrattingPencil Drafting Pencl is stile favorite medium for meny désignere and datos because itis easy o maniulte Is lne width and density ls also easy to erase and moc ify. The major disadvantage—compared to ink on Mylar—is that pencil draw- ings are less permanent and less durable. They have a tendency to smudge, and they produce a weaker blueprint ; Equipment and Materials _ Mechanical pencil or lead holder This is the main toot for pencil drafting. There ere many different brands aveilable. : Leads ; HH ‘Avaliable ina verity of herdnedees, the most corhmonly used leads are HB soft. For wider, dark 2S Of tOx- turing. Smudges easly but also erases easily. H medium, all-purpose drafting. lead, ideal for latering on vellum, Prints wel ; 2H mediirn t6 ard | Good for tayout ines and precision work. More dificult to erase put will not smudge 26 easily. aH hard For guidelines. and light layout and @ light touch. Will not wrell L Softer leads, ranging from the pi tremely soft 7B to soft B, are available but ate'more suited to sketching thar| to drafting. Harder leads, up to the extrefne= Iyhard Hare also avaible but bre seldom used.” Nonphoto blue is used for 19 Guidelines because it does not reproduce ‘when photocopied. . “Pencil Pointer |: ‘A pointer is used for sharpening lead. Empty the bow before putting it aWay. @ tandsonse rapes | |Aan: Aan atlas amt cilergrnmeticertt T Square and Parall For larger work, use 2 parallel and brackets. it rolls over the drafting surface, maintaining a precise parallel, 50 are for drawing parallel fines and quid ingles, The recommended length for 2 T sq le, which attaches'to the table. with wires ‘relationship. Recommended lengths ate 36, 42, and 48 inches, A diafting arm is a more expensive, adjustable straightedge Triangle Combined with parallel rules, ‘rianglés are used to draft straight lines in a variety of directions. Adjust tobe drawn, If made of pas langles save time end allow precise engles do not use as a cutting edge. Also, do not use triangles with markers, and avoid damage to the edges. Compass For drawing larger citcles a |compess ‘cheaper ones tend to-be inadcurete ar 1 beam compass is used, Eraser. Everyone makes’ changes. = _Gréphite without. sinudging! “softer pencil erasers. yecessery. Buy a good one. The ii 1 kneaded eraser is, good for initally removing jon-ub erasing Gan be done with any of the ult to" use. For very large ares, susie raring (B)@) tanascane apres Erasing Shield For use with erasers to mask areas that should femain, a shield is cruGal ‘when using an electric eraser. Drafting Brush Available in various sizes, itis used to sweep drafting surfaces clean. Flexible Curve Many brands are a blo, An excallent aid for drafting freeform, flowing lines and better than French curves fr landscape work. Gt one tat can be used with both pencil and ink, Scales ‘Architects’ scales end engineers’ often than elsewhere, Landscape ar ri scales of various types. Do not Sandpaper Block ‘beck is used for puting 9 wae and for sharp with one end slit open. Drafting Tape ‘Supplied in ralls or as strios of “dots,” the paper. Drafting Paper Vellum isa fairy stable paper Clearprint 1000-H and K & E ‘cent rag-papers. Not recommend. * arin Board Cover ! A vial covering is recomimonde eles, Ate tothe board with db ‘To avoid bucklina, keep ‘out ot direct cbiects ‘the compass: (oe les ere used in the United States more ‘iteots in most other countries use met: 2 scales as straightedges, ‘chisel point on the lead when letter the'block in a sealed em = iis wed to secure the paper to the Id well yet peel of easy without ppg lbscause it is durable and resists s ble sided tape slong the top and bottr ‘Sunlight and avoid close proximity to hot i i i |= Techniques C Pencil drafting is used mainly on finished working drawings or base maps, C where accuracy and precision are important. The advantages of pencil over ink are tat there is no waiting priad nk needs to dy, erasing is easier penal ie generally faster. Ink has severl advantages over pencil, (See ating with Pens.”) ~ Line quality The tyes important line chrastoriatics of pri eating ao: () the density or value of the fine. The ideal consistant wicth alongs The density, or.darkness, of a line depends on the lead and the paper used “rougher paper neees harcerleacs) andthe fressur applied to the penci. Set up the sheet of vliny top edge withthe ubper side of ‘your T square or paratel rule] prinkling of dry cleaning powder. ‘Select the epptopriate al 1d sharpen to a point in the pencil pointer. tapping genty on a piece of sorép paper piles Next, found the cor ‘The end should Hotd the per italong the slowly as you pull: Tip the penal Teo much “elepe, afew degrees will cause the. inthe: direction lead to. prea. | oF the. stroke. -—~ eull arm a Je) Push thumb oe your daw fe roll the penal across, your Fingers 32 rotation. ‘ma xinum. aasiooating (&)Use of Straightedge Tools ‘With your non-drawing hand, make st ‘against the edge of the board and hold Keep the pereil ot 90° tb the aoe of the T sqpare, or triangle nt pressure or lift The parallel rulois used in snuch the itis held in a paraliel position with the table. Adjust the wires to put (2) Landscape Graphics then tip pens, be sure to clean the ith the sand 1en scribe the circle, the corripass, sharpen the lead to 2 Paper block. Test the point on a piece of scrap pay always keeping an even pressure throughout the Connections : Make sure that all corners havp positive conneétions, wveak. | éorner ineprract Too much F overlap lines fouch op ates “ eorre ; oe slight overlap homensPencil Drafting Sequence ‘Lightly dust your dafting surface. harp lines drawn with needle-pointed 24 ry drawing, this step may be omitted.) 2. Lay out shapes with very. or 4H leads. (IFtracing a 9, Drewares. _ FH. oF 2H leads: Work from tap te bottoth and 5. Add thiriner diimension| hes. = 6. Addlettering. 3 y, add textural or lettering and avoid simu 8. When finished, check tHelback side of the sheet and remove a “that may have been piekad up from the work surface or trom t wise 3 - Basic Dratting (234) Landscape Graphics Drafting with Pens Pen and ink drafting tools are most often used on drafting film. Ink on film has several advantages over pencil on vellum. Precise, consistent ine widths are easier to. maintin, The ines are also denser end rest powertul copies. Some design fim and pubic agencies prefer fim bocause itis more resstant to derage and more stable. It wil not shine or seth ‘sth veritions in hum. Drafting film Use polyester film that is 3 to 4 milimeters thick. The most ecmmion film in the United States is Myler, which has a roughénad or matte surface of one or both sides. Draft on the matte side, not the smooth side, Pens There are many brands of technical per Most of them are expensive and take ¢{ best brands have jewel tips. which | approach is to buy a sét of cisposable li ‘advances in the quality of these pens. and have @ very dense black ink.’ For “Pigment. Liner" Both are ave ine width, They also have den: and erase easily Beware of smudging since the ink tak time to dry. You sho to draft everything with four sizes; 01 Penstix” series but the though not as consistent inline width| for lettering, : to keep clean, The 18. A much l66s expensive pens. There continue to be _ Other disposable ink pens’ worth cdr ‘are. Staedtler’s\ *Lumocok Sharpie” and Sakura's “Pigma Bruch Fresh ink lines can be erased with been impregnated wit faster. Rubbing alcohol A litte water ill ramiove the ink Inking ‘triangles and templates have re r beveled edges to prevent the ink from cunning beneath the guide: So tes have bumps on one side » to keep the main part of the tempat 1 crafting surface.-Other than these examples, the dratting tools are similar to those discussed under pen: ‘eraset or an ink eraser that has Techniques 4 pencil, the ink pen should be held vertical or 90 degre citections. Use a very light touch and move s! to. #4+ forthe project spect Beveloper or agency Dasign company {with address ard logo) ‘Check signature Checked by. Date Revision dates Revised : Scale North indication tile block on the computer fo ect. Some Jandscepe companies have pre-printed base sheets of vellum or Mylar with the unche = tive elements laid out and’ spaces providedNorth indicators and graphic scales North Indicators Every lendscape plan must have a north Indicator. Ths is Usually an arrow and is en essential part of graphic communication in plan view. When discussing ympass references are often made. They become ions when you cannot point to @ part ofthe site, Most importantly, the north indicator is the key to understandin tion as it relates to sun position, wind direction, slope aspect and other directional issues. Sections and perspectives do not have né indicators, : Annotth indicator should: + be simple end unobtrusive yet easy to find, Pace the pot neater close fhe sila ac noe the botom sie ofthe os, there 44 oy, usualy conan the noth indete Sonsties he rern nxt cnied wih ape oe f, a written scale. The ynship,to the drawing North Indicatorsana SOON AN + Wameter‘on the Scales sean view and section-lvation drawing must have scale nseation, Bren Fou tne si ditfoence botween the érewing’ end the set! Tso. The acai may be wien, graphic or both. tis expressed either vancegauation oF a ratio, In bath cased the let side represents @ uit on the 2s asad the ight so represents an ecuivalent uit or number of units in cegecope. The prysical scale used t0 measure plans i thersfore 2 tol the chy eonverting distances without heving to perform, mathematical 1 tel on tho folowing page ther ise chart competing tee gener! fypes of scaos:arcitecs' engineers’ and metic. ‘Architects’ scales are always. fis. of tho =» sigh and the. unit "| on the drawing is equivaler fo. The architect's sc ut that a distance trom 0 to, for example, 12 on itof 7 inch on the left side of ide. So the scale of rawing is 0 20'.0n the landscape ‘to measure elements on the plan is calbrated Engineers’ scales are always the = sign and multiples in tens of feet such that soeles is 80 feet on the lan Do nat mix up these scales. these AB Bel in this forth-and will only es incorrect to'use such scales as 1 to contusion. ‘Metric scales are written '10’on the right side. Thu: seale used to measure elerhen that the distance betwoan zpro-and sey 3 on aniy of the scale’ represents 3 ‘meters on the landscape 07,4 1/2" =10',1/2" = 20". They do not exist 7 i aibeage @)Scales Architects! Seales Engineers’ Seales 28) Landscape Graphics Imperial System Metric system pipe ap gel 23-0 Zz ; Met'-ot Et "s '-o" em 110 12.0, jonas 40. «50 Landscape Application Enlarged construction details Plans for spaces smaller than 10,000 sa. ft. or 1000 square meters ‘Sites planning for projects 6 to 1,000 acres oF 2 to 400 hectares Regional scale studies for areas “| 24.000 over 2 2a, miles oF 324. kllome- toreMeasuring with Scales start by lining up the object : tc nane ‘Architects’ Seale Pre ee a eT ie et 5 for the V8 itis + | ] ‘Architects’ Scale ~ the foot numbers, seale starting at the scale mr — 4} 4 indicates muttiptes of 10 feet YANN Engineers’ Seale Metric Scale C= indicates inetersExercises 388 2.1 = 2.4 are meant as pr in using 9 tools. Set up each page parallel to your d Mike tho Fines about 6 inches (13 em ong and 1/4 i dry cleaning powder to avoid emudi inch (0.5 em) apart ‘between each group as shown below, chok ft ognlar tne tolonang acekty Draft a fourth:set of five ines: with the 4H These guidelines should be we arated very lat 80 tht you car hariy S00 thom. On the romaindor ofthe yen i Blectnads shoot use a compass (argest cee) and the cre tompate (other eles) (3 Ai ines should be dense and back enough to produce = high-qdshy print) | sft four circles ofciforent sizes, Use an lead forthe icles.” + Avoid light. grayish lines. . Consistrt line weight. Each line should have an even thickness, or weight, throughout its length with f ‘No nerrowing or widening and no fuzzy edges. j ¢, Accuracy. } Les should meet of very slightly cross! Une un with precision, and have a ‘ cetinta ends, | ; 4. Sheet appearance Overall the shife| should-be clean and free. of Tose Smudges, sais ard teas i 1 : 2. Ado! ate apy to. ororee us Vy. Hirrchy of tins: The vais | 2.2 Using a tr x ; Jouish’ by virtue of their different Media: 8.1/2 x widths of patterns: Tonal quality. Landscape format’ Ser Clarity the ressoge, Avoid unnecessery jog’and texturing can be used to clutter. a Ih the pther divisions. : 3 465 dpgree diagonals from the comers. Copy the res inaide each other. : 4 2 8) Landscape Graphicsatatetatatal 2.3 Geometric shapes Sarg rnedia and format as 2.2 16 of the page Yollow these instrictions t8 daft a hexagon. uidelines AB, CD. With the intersection as the contor scribe a ‘yery light circle with a radius of 1 1/2” (3 cm). With the 30/60 triangle and light 4H lines, draft sic guidelines touching the edge of the circle as shown. Finish the hexagon with dark sharp H load lines. 2.4 Using various tools ‘ Modia: Pencil on 8 1/211" (A4) vellum, Tees Using vat of ead ae enc arating tenniues expand the landscape plan feetures shown below t Copy approxirnate shapes and” folate Ses, Do not masoute dimensions. Draft ssi ines with the T= «|.» Square and triangles. Draft the trees and walk curves with a circle template. Draft. the foaform ‘curve with the flexible curve, Draw, the dashed: ling bontours, shrubs end confers trechend susie retina GD)32) Landscape Graphies 2.5 Testing the pens Media: Ink pens on 8 1/2 x 11" (Ad) mylar. This is one of the few exercises ‘where you can trace. Make a copy, then overlay one of the sections in chap- ter 6 with the Mylar. Ty to reproduce the variety of lina widths by using sev- ‘eral pen sizes. Some lines need to bs id others drawn freehand. jeading scales distances from the beginning 24" (1.2 meters} 29" (2.4'meters) 10-8" (3:6 meters} 18-8" (6.8 meters) 28°. (& meters) 39 (12 meters) 53° © (16 meters) 78 (24 meters). Line 1: use scale of 1/4" = 1.0" jo} 1:60 “(only six measurements wil Line 2::use seale of 1/8" lof 1:10 Line 3: ise Scale of Line 4: use scale of | | | | | T 2.7 North and graphi¢'scale indicators Media: Ink pens on'8 1/2. 11" (Ad) Mylar. Fila sheet with north indcstons and Graphic scales copie int waced) fom this chapter.‘cuapTer (3) Lettering — Lettering on a drawing fulfill an ipoftant requirement: infcrrietion that ‘ ’ inderstood from graphic shapes, lines and colors must. ful thought to the composi : bacomes part of the over the drewing by making it ‘can detract from an otherwise good drawing by making it unsightly and Situ treed. ae i Prepared Lettering Systems j O u n 5 A | Nn ‘The most offcient lettering system by far is to use the computer. In CADD it cut and paste them manuelly onto 2 landscape graphic sheet. » ghosting effect due 16 the| eae a Another quick and effective method for large lettving is to. printed from the compute. Prepare the size and fori tyne appr Lettering (334) Landscape Graphics Marker Lettering ‘Wide-tip color markers are versatile tools for quick, functional diagrams, free- hand tte lettering, and color rendering. itis aneropiate at tis point to learn how to use them propery. Before beginning. put 2 becking sheet of tracing paper under the drawing surface. Markers wil bleed through many papers end can permanently stain the drafting tabe' surface. Keep markers tightly cepped when not in use Marker Grip is needed. Even maderete pressure wil destroy the tip. : hve rectangular end need to be held so that this end ‘touches the paper along the entire edge. Side view + Only the toe: Only the Heel Entire edge is touching Tstouching ~~ Tbtouching Larger lettering done freetiand with a wide-tip marker as @ base form gives 198 @ softer human fea! to the presentation. This technique is especially effective when ‘your drawing @ special fiare unique to your own style and ccolog is addled to the latters bafore or after outlining, Top view Horizontal stroke provides | a wide line. roke produces The marker is held tipped {rom vertical to put one édge incontact with the paper,VOOART Freehand-Lettering : Freehand tiles and subtle requiring larger eters can be accomplished with: markers & tip pens. This technique is good for schematic and prelimi- sr drawings on merker pape, but the freehand outining techniques shown Ton be adapted 0 other media egin with guidelines about 1 1/2 inches apart. Hold he mater gently, Make sore letters, checking these pointers 8s you go: 98'S, which would tip the marking 3: > ight touch, letting the édge of the marker tend over horizontal guideli il edge at the tip of the marker. ie time for vertical, diagonal, and severing)Follow up with a fine line between, _ Move the paper or your atm to permit comfortable,G@) taneseape cannes Pencil Lettering Shape and Spacing Most letters should fit withi words should bé the equiva ightly narrowed square. Spacing between of the letter N. Size Always use guidelines to obtsin correct size aiid 1. The Ames Lettering Guide, shown her hich allows quick setup of guidelines of an ly accoss the paper, keeping the pencil down to the next re.are enough lines for the QNES 1 LINES ITH Baul SPAUNG ate ‘The fowa of holes on either f (between the brackets), G/6" or more. Several differ pege. ¢ & © ( TOMER TOO WIDE: RIGHT Center Yow of evenly spaced 2; ve ] AT -LERT OF THE CENTER Row- 1S THE 4% ROW WHICH GIVES A OBLIGHTLY RAISED MIDDLE a EI INE = ey) I 4yanAC ca pee hear Fa ghisk inn Ee Lettering MOST LANDSCAPE ARCHITECTS Use A SIMPLE UPPER. CASE (CAPITALS) STYLE \WITH NO SERIFS AS SHOWN HERE, KEEP LETTERS VERTICAL, AND CONSISTENT: IN SHAPE. THIS UNIFORM STYLE Is Y TO READ : ABCDEFGHISKLMMNN WX POR SSTUV W [ZS 7561784 : lover edee leHers are. lees formal and are uted: concert. Pare, prel naire sketches and for Use: oO plant liste sTuy OX, Y za Lettering (38)Letter Sizes and Applications HEIGHT LETTER GUIDE EXAMPLE : SETTING ; ' 2 Meee cours paw Foo: SHALL Res HAN Lerireine 5 Serine ' eed | | Good, FOR. SHALL LABELS |¢ BLOCKS OF LETTERING: | CAN WRITE ALOT IN; A0$MALL SPACE 1 ALWAYS LRAVEA GAP! BETWEEN LINES OF LETTERING ONT, BY cca: SIZE FOR. MOST. ql LABELLIN Gr Sa Geop FOR SUBTITLES. Use A ZEIT GUIDE LINE. UPPER LIMI FOR. PENCIL PE TTERING. (host soes esTechnique Fletten the end of the lead on a scrap sheet or with a sandpaper block. ‘After setting uo ‘cleaning pad, begin lines and lightly dusting the surface wi ‘stall triangle on the loner side of the NAC Yn Onno; - Alghe Pench at 9 iow be lettering (41Draw verticals as thin lines with strong, dark ends. hit: ‘ge it | Farin hit emphasis HUTTE TEER Y TET Wetch the guidel ‘The horizontals. should be drawn pressure throughout. Avoid br intain @ firm upward slope is 1 : | 1 @ tanaseape bapniesMore Hints For Better Lettering” id smudges and overlapoing with other ards almost as fast as you can’ Organize lettering. in I down a vertical guid of lettering Inenever possiblo—os youtake notes, address envelopes, write letter, and kompose memos. ¢@) tanascape crapnies Exercises 3.1 Computer-generated letters size of about 14. Print this onto a she to the top portion of a sheet of 8 1/2 x11" (Ad Mylar portreit format. Whild you aro and the number ata font ines} of notes ata font 101 of sticky back’ Trim excess and apply 210 x 287 mm) vellum oc atthe computer prepare another page of laige letters. Make three rows of one word each choosing three different fonts and the “bold” icon: Print this page out and trace the outline of each \word onto the bottom of the sheet using the ink pens. Run a blue-tine print. 3.2 Marker lettering technique Media: -Col6r markers. on elles Gian eoExercises ‘Your goal should be to craw frequently arid with confidence. © not rato yourself or be rated by an instiuctor agains ‘the book is deliberately, superficial regarding frechand sketching beceuse. there are any excellent books which focus ori pencil oF ps ‘scape sketching (s98 bibliography}. You should find one it as a companion to this book. The following exercises wal (get you started, Sorne background music might hep. 4.1 Freeforsh shapes Modia: Felt tip pen od 18 x 28° (AZ jc, 420 x 604 mm tcl “4.2 Long lines £55 Media: Fet bp pert Floce three or four them across the times leaving 2 curved lines og3 4.3 Boxes! and ai Modi Fo too hikes tandseape Graphics en end Ink land sen you up end ing paper. ‘4.5 Continuous line 4.6 Line expression “Media Soft pencil on any 9 x 12° Experiment i ‘ate ani Organic’ landscape -cbject Subjects endform, cocks, Bark on Presentation Plans (@eqgeydusa saljouerq ews sloquuds yu seyjo Buvehe| um BuPAOUS 36) poog S904} Uia}yed youeg | 40, "yeawepun sjoquirsc Branched pattern trees for larger scale plans 1/4” = = 0 of 1:50 : : ‘Make sure that the branche from thick near thé ented nearer the outside. | C a C : C ‘Angular bends to branches with thet ine open | Fano deel tne mrosertaton ane ) 1 | | | 1 {i | fe Siboth bonds to st |Coniferous trees‘e611 pesnaxer ‘eese09 ‘plod SyUL[g [ROEdorL 3More tropical vegetation Combine thick and thir lines to create interest.Desert PlantsSANNA sdnosS qruys exon (@) 21g woneyiosergSana: Composite Planting Plan Layering is where some symbols overtap or Sppear to be, under cl te Blants together you need to think about layering, S¥mbol identity refers tothe ease of cstngushing one group of ‘symbol identity and tonal balance. srother pales alas ll Tonal balance is the contresting densities of lines or tones less important f you intend to add color but becomes very iniportent if your plan hes to read weil in black end white : fe, t, making decisions on. how’ ‘much texture and tone are needed, ‘ry different pon sizes, x a y ly, A Pe NZ Uy ey y; Lh / go ‘ . STI iy ovnbo WM, ye 4 : Q Uh MM, 7 Presentation Plans @)| ||. sotuaesa eaeospurr (62) | Jesuap ecey pjnos seese jou sem yaks 01 bxau sioquiAS Jey wIssiQ. eidurexe ued Sunueld aysoduossyueudieose pur 5441; 2 Rocks < Ed Boulders and cobbles lining a creek bed. Rounded, river-worn boulders Sharp angular rocks f ee X , ‘ Rocks look in groups with | ‘some tbuching and overlapping.Bi Architectural Water Features ‘As with all best left white or ighity toxtured to shotw jets, splash- ing end ripples. Of containment sets the character and its full impact is oreated by adding color =.» @ toresci apes_2ucas ano sein6uers01 Suired. ete st ll!Buildings with roof * Add more texture lines on the character Buildings Landscape plans shaded sides. Place the derkest buildings, so 1988 surfaces facing ‘show them graphic most ‘away from the light. that supports landscape < ceaigan Pe * ate located. Welleways.end other | wht some root stuctore Begin hard surfaces may connect direct- with a roof outline including breaks A sings outline, drafted or free‘ '¥ with doors. Landscape views | _ in roof pitch, hand, is often adequate especially 94 Sc?eening may be related to for site planning. and. other draw- ings of sites over 5 acres (2 hectares) 1@ and doors as a single outside e. ‘adds power to the. build When adding color to the plan. the. buildings are us uncolored to emphasize “scape.” Landscape GraphicsOC rAANAAT Freehand buildings © rresetation Pans (@)Roads and Sidewalks Cars and Trucks Cars end people show activity and function ‘Anelp in showing scale and function, cars and trucks are best done freehand. Keep shapes simple. Oval with a black ast fot the head é oe? Abstract shadow 2) | a People Landscape GraphicsrIOC » The most powerful shadow: Shadowing 7 : itis not necessary to add shatiows to all plans but derk shadows dd a dimension of depth to your plan and can give hints to the some of the vert cal interest in the design i‘ Shadow direction the shadows down ‘dimensional visual impa tures off thé page. cation is pointing up, as it should! be on landscape plans, then this downward the shadows exaetlyas the sun. case, all the shadows on the one drawing” tion. the design message. In direction and angle dictate, In af ‘must follow the same fight Shadow density id black; @ very dark gray or a very derk blue. : ‘Shadows can aiso be done marker. They lose some some grotind elements to:sh: ‘toned shadows on-the samé rgctional hatch or with @.medium tone ‘thei impact, but have the edvaritage of allowing igh. Do not mix sos back shadows and | Shadows from plants Establish a light direction, Fill in the. space that| re al wate looks like a s somewhat the “new. the outline 12 guideting ‘2 cone-fike “ Presentation Plans ©.G@) taniseaps rapres Shadows from buildings and landscape structures Establish the light light direction from the comers of the structure, Talier objects caat long} proportion to the heigl shadow shape with ine | { t ving a thin White space between the shew and object edge- the object to main ction as with plant shadowing. Draw lines parallel to the Expressing ground forms with shadows ‘Shadow’ shape will need to. be adjusted when the ground is sloping or ‘stepped end when the shedow falls on top of other landscape forme. Ramp with wall >! Level walk Ramp Level walk, * Stepe with wall | suns Deep end& ze e i § z a 23 5 5a Rook WA : - ab | eePlan without shadows “ Plan with shadows resentation ans (3)Exercises The purpose of these exercises is to prectice plon-graphic symbols drewn frechand as well as 16 become familar with various media. With UoONAysuog AemireysC 1ecessary to accommodate all the levels on. your design: inthis rere is‘another set of st second. vertical movement of the c Sehnert te ee leryat I on. ef = | ra C | |perspective aavalatane Complete the sketch adding form, texture and people. Perspective orawings. (73)Perspectives Using Computer 1Hf the plan dete is not elready programmed into the computer, this ié the next step, Create @ grid over the plan and enter all height-related data such as topo graphic elevations, heights of buildings and heights of landscape structures. Medium: Computer printout 30% of actual size ¢ CThe viewing height and direction can be print can be made at the appropriate. of objects in the wire frame, because elements (such as people and trees) that are Another poss ‘ground plane, Either method will work for calculating the relative proportions of new obje ‘Medium: Computer pri “580% of actual size Landscape GraphicsCRF Pace an overlay on top of the wire fame print. With mast ofthe dificult process 10 bring the perspective to cussed in other parts of this book. Fe section on perspective composition to find ideas on adling ont and shadow , 7 persectie oawinas (@)2 following four pages shoivs the Sequence ot gréphic products generated Process of preparing & perspective from a computer wire fame, The @ small garden, tec mo ° * "Simplified plan of the garden PLANTING PLANTINGaayoodsiod duieys 3M payeisuas-raynduisgFinished perspective drawingComposition in Perspective ape Ve ey ‘Composition is about the rel hips of the. slements in the-perspective to. | < each other an to the over sofce or paper The folowine ines 6 corippsiton cen be used Separetly with some ./ ®Xoeptions, together as techniques to improve the power of your perspec ve, Prec each-one, then decide which ones when used together wil ‘enhance your message.” Balance ¥ ‘Neat and Far Relationships 2 > Enclosure by Planes ‘Cluster'and Void Light and Dark Relationships.» ‘Outline i Open aiid Closed, 1; Balance i This has to do with ae op raving. Ifyou vere to visually tape » "horizontally there would be ah jones the. cémposition eppesrsto have a Fowe's ‘eye 18 raw through the sketch ‘cal ere or aroas (Crawing B) ao Sowers | a Bence Focal zones outside these 1Bz fpoeranentarny tc owats he age eee atte ‘A focal zone placed dit 6 7 wiih is futher enhanca appropriate when drawiig a pe Drawing & (68) Landscape Graphiee2, Near and Far Relationships | Incorporation of foregy iddle ground an background elements creates the greatest Sense of “ides become import a. Smaller size with greater distance, «Thies ong ofthe basi prinigles of perspective whereby sie is invarsaly pro Peri to-itanes: Desig A ‘To make objects look fa ther bot inthe hori is very salar to Sie oh " shotld be squastied closer % (Drawing ah ‘a sketch of outdoor space! Three interrelated | “Perspective Draw!6, Abstraction of form with great HG) Gnecans Gabe“3. Selective Finishing "element may be richly de This is also referred to a4.Enclosure by Planés 4 A porspestve con’be viewed in term: (e.g. paving, ground covers, wate ier degree of enclosure Tithe prone Poconos ore ‘owsratant thi eon aate es “8. Cluster and Votd | Groups. and clusters of deja Rext to unaltered white space brings excite- | ment afd interest 10 thel ‘ SPtCh. Avoid evenly placed lines and ‘tonas. Strive 7 forsandomness inthe, " Ment and quantity: of line clusters (Draw | ae (S) Lanaseapé srapnics:YAO Nor “Tia few limited placed it js 2 (Drawing &), | 6. Light and Dark Relationships» ‘2. Contrasting tones.” 9 contrasts cn be reat by suction, abrupt changes tones, This placerheht of light next to dark accons the ‘and ads to their comin fer attention (Drawing Powerful a froth tight limits of each {6 eliminate contrast by placing fight next to Edges of objacis are “lost” tot Some discove ii. agination. Fe aries ‘blur ‘or disappear creating si Perspective Dravii7. Outline Outline drawings are often interest of 2 (94): Landscape Graphics585 ~ C . Expressing Light Quality, =P 1 staal gohan tne’ vnacnesth sedraure aureces wil Goh eases ‘Abrupt transitions of tone indicate sherper angular formis with hard edges, Always est ; © : i Ligure 3 ° The eosiost way % . ‘ s ‘ght or upper i i $i Serr Ebae with t _ : aay “GRADUAL. Tone” io Shade ’ : A peek - Pen. Fi tak Ry CHANGE. side fazing more depenting on t an abjact you ate also éxpross Bul here is bounceif and Fefiectec ‘This means that-flat, -., idom have’ perfectly consistent ton. You can ise this) °~ force the contrast betwee the, iounded doodle- indicating pebbles, or & ting smooth paving “- operepactivé brawnyShadow ae Cast shadows are the darker places on one objett of surface causéd-by the interruptio 'OM another object. n this book we will make no attempt + cally accurate. shadow shapes, This can get vary complex as. fone convoluted form casts its shadow on another iV apply some ‘gr0ss'simplifcations er Natural elemants, bo sure to use the came almost fon for the shadow, then compréss the shadow so that itis a going to the Point as the edge interrupting the su nce fram the ‘object should be proportional tothe! object's height. L such ag seat. ~ height. be very cldse to the base. Objects twice the height wil 2 distance f 2PABALL some consistency jwith the lergth of the shallows as a propertion of their LINES. ’ : : © height eh toward the bottom 8¢ the érewing. Agin try to keep 27 toe Landscape Graphicstute of shadowed surfaces with ine ‘ground plane or shadowed objectt Exercises” ox 8.1 Pre-test perspective Media: Fett Without ref “BE Vow of ting. tn 1ages, draiv what you perceive 16 be ares n view they ri be ike this nonae I oF I (aw & railway line. voile sand inthe that run straight across an endless, fat can ses. No trains ére coming B. Of the right side of the about 20 feet (6'm) away fro The three walls are ail 20, landscape Giaphics |" vanishitig point. Guess where ‘the back side of the: diaw a walled courtyard, You are-standing nthe front of the Space looking clrectly isto it~ retain a cube-tke appearance. It should be F the bottom of the igri ‘but make the8.5 Pool courtyard: PST GR 3 Fe : it birds-eye EY Media: Felt tip pen'on 18 x 24” (AZ markér paper (Set up on tracel;, straightedge drafting aids and free: ahd techniques combined. With: the one-point perspective ~ chert set up to obtain a 25-foot.. ‘ large you want the perspective t be. After blocking out the pa “plane to the: horizon heights mey .be. deter using. the -horizontal <.sealing method. (G00) Landscape Graphics ©818 Camera-assisted perspective 8.11 Shaded Objects Media: Firiat drawitig should be done with pens: ‘on ma Choose a landscape plan with some modeat le tions in the section called "Perspective Using @ i finished perspective paper, ».8.9 Comnputer-assisted perspective Pu Media: Final rewing should be done with péns ‘on marker paper of riya | Pepare a'perspective from a computer generated wite frame printout to the sebtion caled “Perspectives Using Computer Wire Frames” 81281118) copy paper. ich (2 em). widerand 8 inches F glass bject and’ 10 Suggest ad Landscape Graphics- Appendices ; Use of the Vertical Measuring Line on Perspective Charts One-point Perspective 1. Draw base of object bn ground plana, 2 Select an edge that vanishes to the VP and erect abject vertical lings at each of the two comets. : © 3. Follow the base edyé back to the horizontal ground line which intersects the zero. : 4. rect a vortea 8: Select the desired Landscape GraphicsTwo-point Perspective ©. Draw shape on ground plane.5. Determine which VP this zero base linie goes to. andscape Graphics OE TWS zene pase ne VAN THB soe VP.Conversions Se Bibliography centimeters inches’ xk 72540. centimeters: x. (0.3937 inches feet x 0.3048 ‘meters cometers7s sx 3.281 feet 2 yards. wo 0.9188 “meters.” » meters. xo 098 yards % miles x 6 7609 kilometers kilometers "x 0.6214 x “sq. inches x : 0 squem. x Ae = z sq.feet x sq.imeters 5 esate “sq. meters": ox sqft. | L zy sq. yards... x = As sq.meters 7 | + Honk, Kurt| and Larry Belison.'Draw! A Visual Approach to. Thinking, Learoing J osq- meters” x 2G gquyde ‘and Cominunicating. Los Altos, Califor acres x hectares hectares x acres» Z Jaeres x : sq. meters £ 2 squ meters x looza7 +o acres % _ square miles x * hectares» 2 : < 2 x pi Vai Nostiand Relnhole, 186 _ ith Confidence. New York: Van Nostratid Felphotd, 560 square feet square feet 2” 3 IM Design Communit tr Loideope Arcitets, Now Yen: © "Van Nostfand Reinhold 1980 900,000 sq-meters hectares. 1,000 sq meters! (900,000 cu em ms sage © 5 appendices7 < Matiorlonertig, 24, 44 ated letering systems, 93,44 en, 24, 32 7 Mostor pan, 11 © Presentation plang81-95. pene, 18-23, 20-21, 1652171 ‘Measuring, with scties,29°°° Progrem developinont, 5 Drewing’ : ‘freehand 85-51, 60,85 ‘Quick wees, 62 «Ramp, 83 Roads, 86 we Rocks, 78, 96,138, 154,203.” 7} Escarprients,.76,77 opts, st oe Fest drawing, Scales, 26: 27-29, 32 Z Fences, 144 Schematic plans, 8,9 Flowers, 27° Seating, 82, 145 of Foliage texture trees, 63, 116-121 Sectlon-levations, 97-113, al symbole for, 114-164 : : Shade, 195, 202,208. m8 5 Shadows,75, 87-88, 90-91, 195-197, Composition; in erect (18-198 i Computer siliced aan ii «| Funetional dlgrams, 8,52 “ 1e0ie7, 202! 1 £ radia plan, 18 wee serveture nnn 6,0 Graphic language, 5 Syinboti, 53, 54> Graphie symbol fi Gressee, 127, 182 Texturing, tree, Title blocks, 25 Trees, 82, 63; 84-8876, 612 122-128, 125,158, ‘Coniferous trees 66, Construction décument ‘Conversions, 207 Deciduous trees, © drawing section from, 101-110 = master [11° f planting, 18, 73475, *y Wai, 143 Y= Water, 79,80, 136, 187, 188 atl en Si, 14 mes, 180-187 cal measuring line, 204,206 “Layout pla; 14 ‘Lottering, 3-44 ic pie. 8 e179 @ Landscasie crapitesOCCCOOEHESS $24.95 U.S.A./329.95 canada, eyed Landscape Graphics, revised edition The classic and indispensable graphies toolbox for anyone who does 1a1 _ Or landseape architecture, now completely revised ana updated! Graphic Language and the: Design Process ing and Conceptial Diagramming = Presentation Plans + Séction-elevations» Graptile Symb Seotlons and Porspictnes: Proactive Drewing-Exerches atte ondat cere on Landscape, Graphics, revised edition presents an easy-to-master, logical progression <._Jandscae desion nd landscape architecture, The only book devoted exclusivoly to fa "_ Improved edition emphasizes time-saving methods that encourage the rapid development the basic graphics techniques used in raphies, this completely updated and fons and concise text, landscape architect Grand Reid ‘lopment, inventory and analysis, design development aja coneweete locumentation:—and their appropriate. ing site analyses, concept plans ard eketches, cone Plans, and working drawings..-- s ws the:telationship between the foar maior design “Techniques of 9, Presentation plans, and seétion-elovation drawing are resented with a focus on There's afile a Is for sections and perspectives that has beén updated with @ multitude of new, fast and effective symbols. The 5 book also now Pe, f 4 Section on perspective development using a digital era. |